RogerEbert.com's Scores

For 248 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Game of Thrones: Season 4
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 141
  2. Negative: 0 out of 141
141 tv reviews
  1. Ezra Edelman’s stunningly ambitious, eight-hour documentary is a masterpiece, a refined piece of investigative journalism that places the subject it illuminates into the broader context of the end of the 20th century.
  2. Hannibal is thematically brilliant and dense in ways that most network television is not, but it wouldn't remotely work without its committed, incredibly talented cast. Dancy and Mikkelson continue to redefine these characters to the point that they're making them their own while Fishburne, Caroline Dhavernas, and another great guest turn by Gillian Anderson elevate the overall ensemble.
  3. Veep starts with four episodes as perfectly conceived and executed as ever.
  4. HBO’s Show Me a Hero is the TV event of the Summer, a mini-series that plays like a great American novel or a lost Sidney Lumet movie. Over six hours, writer/creator David Simon and director Paul Haggis craft a piece dense with political machinations that somehow never loses its focus on the people who get caught up in the web of public policy decisions and the people who make them.
  5. You’re the Worst is one of the best.
  6. The show feels more thematically, almost philosophically, confident this year.
  7. It sounds like something out of NBC’s Must-See TV but Glover and his talented team of writers not only make it feel real, they make it feel essential.
  8. The filmmaking always crackles. Every song choice, every intimate home movie, every personal moment--they have been carefully chosen from eight years of research for maximum impact.
  9. This is confident, clever, fantastic television. It doesn’t have a trio of characters as instantly vibrant as the three at the core of season one, and it doesn’t have a premiere episode that will make jaws drop like last time around, but the first four episodes develop into something remarkable of their own, again thematically referencing back to the last trip to the snowy North, but in its own, mesmerizing way.
  10. It is distinctly its own fascinating thing. And with the addition of great supporting performers like Frank Langella to a narrative arc that grows more captivating with each episode, it could end its third season as the best drama on television.
  11. It is Agatha Christie meets "The Wire," and it's one of the best things on TV in an already-great year.
  12. The writing on Better Call Saul is as tight as any show on television, with every scene feeling like it has thematic or narrative purpose without being overwritten.... Of course, the writing is helped by a cast who seems even more confident this year.
  13. They are father, mother, friend, co-worker, husband, wife—as well as being spy and killer. It is that depth of character and nuance in the writing that elevates The Americans, along with its willingness to offer stunning narrative developments.
  14. By now, it feels like we know Philip and Elizabeth, but there are shades to these characters that the writers and actors are still exploring, still developing, and still revealing to viewers. They are two of the richest characters not just on TV now, but in the history of the medium. And they still have more stories to tell.
  15. Nearly everything about The Night Manager works, from the high-powered cast to the gorgeous locales. And it’s thematically dense as well, as le Carré and Bier examine the games people play with each other to get what they need, and how far we’re willing to go to deceive for the greater good.
  16. The Knick is the most detailed show on TV, but by grounding the characters in timeless themes--addiction, class, race, desire, competition--the show transcends its undeniable craftsmanship to become something even greater, something uniquely incredible in today’s TV world. In arguably the best year of television to date, it still stands out.
  17. By the end of the season, Master of None is so confident in its tone and execution that it almost feels like a show in its fourth or fifth year.... Yes, this year of Peak TV continues. And this is one of its best shows.
  18. HBO's program is not just an actor's showcase for two greats. It is dense, complex, rewarding storytelling, heightened by a sense of location from its writer and director that is mesmerizing and a character-driven storytelling aesthetic that brings to mind great films like David Fincher's "Zodiac" and Bong Joon-ho's "Memories of Murder."
  19. As they have for three years, the blend of function and character within the dialogue is breathtaking. One of the best shows of the last several years feels as creatively vital as ever.
  20. On every level, Bryan Fuller and the team behind Hannibal are elevating what we should expect from network television.
  21. Overall, this is not a piece designed to “expose” the truth behind the OJ Simpson case. It’s more about how exposed the case was in the first place. It’s also just flat-out entertaining television, filled with strong performances from top to bottom and razor-sharp writing.
  22. With an amazing ensemble driven by great performances from top to bottom, an incredibly smart writers’ room, brilliant callbacks to the original that feel more inspired than forced, and a filmmaking style that feels as cinematic as this grand Minnesotan tragedy deserves, Fargo is one of the most addictive new shows of the year.
  23. What stuns me still about Louie is the complete unpredictability of it all as all four episodes defy TV comedy’s habit of going from point A to point B by taking viewers on another trip altogether.
  24. There’s a confidence in the writing in this episode that’s been missing the last few years, in which it sometimes felt like we were spinning our wheels.
  25. There are times when “Transparent” will run into a narrative convenience that it often seems too good for--someone stopping by a party at just the right time, someone running into someone in public, etc. Or a character will express something that seems just a bit too self-aware in an argument. I like these characters so much that I really just want to sit around and listen to them talk naturally to each other, examining the dynamics between one of the most fascinating families on TV.
  26. The memorable characters, playful tone, and subtle examination of culture, gender, and social roles continue to impress, as does the underrated ensemble, led by more confident work from Taylor Schilling than in the first season. If anything feels different, that’s it. There’s a striking sense of confidence across the board.
  27. While Rectify may rightly be called a drama, it doesn’t feel like any other.
  28. The show is often shot in a flat, predictable manner, which is likely a choice made to place emphasis on the deep emotion of the piece instead of a perceived “comic book look,” but it results in a show that has almost no visual language at all.... Luckily, it’s never dull in every other department. From Ritter’s totally engaged performance--this character could have been pure snark but she never gives into that impulse--to the aforementioned themes that Rosenberg so captivatingly weaves into her narrative, Marvel’s Jessica Jones works.
  29. Clever. This is a funny, smart comedy for fans of documentaries or even just those who wish they had more time to watch non-fiction filmmaking. In fact, Documentary Now! is so good that it should spark more interest in the very art form it satirizes but also clearly loves.
  30. It is a riveting, heartbreaking, fascinating drama, taking a subject that could easily have been turned into a Lifetime TV Movie melodrama and making it real with its subtle, character-driven grace notes and the breakneck speed of its elaborate plotting.

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